Chapter V

_VOICES OF THE NIGHT, BALLADS, SPANISH STUDENT, BELFRY OF BRUGES, THE SEASIDE AND THE FIRESIDE_

Longfellow served the cause of his art in two ways: first, he was an original poet, having a genius which, if not profound, or brilliant, or massive, or bewilderingly fresh and new, was eminently poetical and eminently attractive; second, he was an enthusiastic interpreter of the poetry of other lands through the medium of trustworthy and graceful translations.

In _Voices of the Night_, his earliest volume of verse, the translations, from Manrique, Lope de Vega, Dante, Charles d’Orléans, Klopstock, and Uhland, outnumber the original pieces almost two to one. Their characteristic is fidelity in spirit and letter. They illustrate the genius of a poet who found pleasure in giving wider audience to the work of men he loved, and who did his utmost to preserve the singular qualities of these men.

Longfellow’s second volume, _Ballads and Other Poems_, contains only four translations, but one of them is Tegnér’s _Children of the Lord’s Supper_, in three hundred and fifty hexameter verses. _The Belfry of Bruges_ contains a handful of translations from the German, including a lyric of Heine’s done in a way to cause regret that Longfellow did not put more of the _Buch der Lieder_ into English. In _The Seaside and the Fireside_ is given entire ‘The Blind Girl of Castèl Cuillè’ by the barber-poet Jasmin.

The translations bulk so large and are so plainly a labor of love that it would seem as if Longfellow regarded such work an important part of his poetic mission. At the present time there is no need to urge the translator to ‘aggrandize his office.’ He does so cheerfully. Sometimes it is done for him. Are we not told that Fitzgerald was a greater poet than Omar Khayyám? In 1840 the office had not grown so great.

This interpretative work by no means ended when Longfellow’s fame as a creative poet was at its height and there was every incentive to build for himself. When compiling (with Felton’s aid) the _Poets and Poetry of Europe_ he translated many pieces for the volume. He gave years to reproducing in English the majesty of Dante’s verse, counting himself fortunate if his transcript, made in all reverence and love, approached its great original. This disinterestedness in the exercise of his art is so greatly to his honor that praise becomes impertinent. Catholic in his attitude toward workers in the field of poesy, Longfellow recognized the truth of the line

Many the songs, but song is one.

Longfellow’s early verse had all the requisites for popularity; it is clear, melodious, simple in its lessons, tinged with sentiment and melancholy, dashed with romantic color, and abounding in phrases which catch the ear and pulsate in the brain. The poet voices the longings, regrets, fears, aspirations, the restlessness, or the faith, which go to make up the warp and woof of everyday life. An allegory, a moralized legend, a song, a meditation, a ballad,--these are what we find in turning the leaves of _Voices of the Night_ or the _Ballads_. Here is a certain popular quality not to be attained by taking thought. ‘A Psalm of Life,’ ‘Flowers,’ ‘The Beleaguered City,’ ‘The Village Blacksmith,’ ‘The Rainy Day,’ ‘Maidenhood,’ ‘Excelsior,’ ‘The Bridge,’ ‘The Day is Done,’ ‘Resignation,’ ‘The Builders,’ are a few among many illustrations of the type of verse which carried Longfellow’s name into every home where poetry is read. The range of emotions expressed is of the simplest. There is feeling, but no thinking. The robust reader who perchance has battened of late on sturdy diet, like _Fifine at the Fair_, hardly knows what to make of these poems, so little resistance do they offer to the mind. The meaning lies on the surface. But it is no less true that their essence is poetical. The one thing never lacking is the note of distinction. The human quality to be found in such a poem as the ‘Footsteps of Angels’ almost overpowers the poetic element. Nevertheless the poetry is there, and by virtue of this Longfellow’s early work lives.

Other poems show his scholar’s love for the past. They express the natural longing felt by an inhabitant of a crude new land for countries where romance lies thick because history is ancient. ‘The Belfry of Bruges’ and ‘Nuremberg’ are examples. Moreover Longfellow’s ballads have genuine quality. ‘The Skeleton in Armor’ illustrates his study of Scandinavian literature. ‘The Wreck of the Hesperus’ is based on an actual incident which came under his notice. The criticism reflecting on this ballad because the poet had never seen the reef of Norman’s Woe, is superfine. Longfellow was born and reared almost within a stone’s throw of the Atlantic. His knowledge of the ocean began with his first lessons in life. His sea poems are distinctive. ‘The Building of the Ship,’ ‘The Fire of Driftwood,’ ‘Sir Humphrey Gilbert,’ ‘The Secret of the Sea,’ ‘The Lighthouse,’ ‘Chrysaor,’ and ‘Seaweed,’ whether or not they deserve the praise Henley gives them, will always be accounted among Longfellow’s characteristic pieces.

Two other works may be noted in this section: the _Poems on Slavery_ and a play, _The Spanish Student_. The first of these, though academic, shows how early Longfellow took his rank with the unpopular minority. _The Spanish Student_, a play based on _La Gitanilla_ of Cervantes, was written _con amore_, and ‘with a celerity of which I did not think myself capable.’ Longfellow had great hopes of its success, though he seems not to have been ambitious for a dramatic presentation. The success was to come through the reader. _The Spanish Student_ shows that Longfellow could have written good acting plays had he chosen to submit to the irritations and rebuffs which are the inevitable preliminary to dramatic good fortune.